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<h1>
    MOGWAI
</h1>

<div class="quote">
    "Music Reviews/Fernie Canto/ANTICHRIST"<br />

    <img alt="Braithwaite, Aitchison, Bulloch, Cummings and Burns" src="images/mogwai.png" />
</div>

<div class="members">
    Stuart Braithwaite, Dominic Aitchison, Martin Bulloch, John Cummings, Barry Burns<br />

    <a href="http://www.southparkstudios.com/games/create.html">South Park Create-A-Character</a>
</div>

<p class="albumList">
  <a href="#rapid">Ten Rapid</a><br />
  <a href="#team">Young Team</a><br />
  <a href="#young">Come On Die Young</a><br />
  <a href="#ep6">EP+6</a><br />
  <a href="#action">Rock Action</a><br />
  <a href="#people">Happy Songs For Happy People</a><br />
  <a href="#beast">Mr. Beast</a><br />
</p>

<p>Mogwai has been one of the representatives of what the folks up there call "Post Rock". Okay, I can agree with you if you think "Post Rock" is a kind of inane definition. But, hey, there was "Post Punk", and now there's "Post Rock". But you'll only care about that if you really care about definitions. I can't say I do. But yes, anyway, Mogwai has been part of a movement going around them. The premise is very simple: instrumental rock. Drums, bass, guitar, guitar, guitar, guitar and a bit more bass. The basic recipe. Sounds exciting?</p>

<p>Well, it should, because Mogwai is anything but a conventional or boring band. I'm using "boring" here in the "lull you to sleep" sense, you see, because there are so many meanings for "boring" that I try not to use that word as much as I can. Anyway, Mogwai is a band that focuses on the extremes. And I <em>mean</em> extremes. It's not uncommon at all for a Mogwai song to switch from so quiet that you most turn up the volume to hear anything to so loud that the wind coming from the speakers presses you against the wall. The transition can take minutes or a millisecond, depending on the song.That's one case; another is, for example, when an apparently beautiful, gentle and gorgeous song is ruthlessly drowned by undistinguishable guitar noise. And it's not the "experimental" kind of noise a la Sonic Youth; it's pure, unadulterated noise, as if the noise itself, and not the guitar, is the musical instrument. If you like poetical descriptions, I can use one I've seen somewhere that Mogwai is Heaven and Hell at the same time. And it's true.</p>

<p>Though that's a description that fits mainly their early carreer, from its beginning until 2000 or so. But Mogwai's songs are mainly long and repetitive, built on a single theme, often a simple guitar line using three or four notes, or a sequence of chords or something. But the songs are varied enough to keep them interesting; for example, some songs feature the whispery, hushed vocals of guitarist Stuart Braithwaite. The words generally aren't important, not because they don't mean anything, but because <em>you can barely hear them</em>. Some songs feature guest vocalists, like Aidan Moffat of Arab Strap, who sings on 'R U Still In 2 It'. And there are some oddities in the catalogue, that are mentioned later on this page. Many Mogwai songs have the bass guitar at the very centre, leading the melody or the main riff, with the guitars providing texture and noise, which gives many songs a sort of "inside-out" feel. Oh, yes, and a "grand climax" isn't too often in the band's catalogue - many songs take more take deflating themselves rather than building towards a climax. Take that, Mike Oldfield.</p>

<p>Yes, Mogwai is, in many aspects, a very upside-down, inside-out band, which to me is cool. Of course, they're not for everyone. Just like much of their music is stunningly beautiful, much of it is uglier than life itself, but the ugliness is the very <em>point</em>. So, unless you can genuinely enjoy the ugliness (like me), you might not be a fan of them. But you can always learn to like it - do you think I was <em>born</em> a Mogwai fan, huh?... Well, okay, I'm not a Mogwai <em>fan</em>, but I really like the band, and I can name a lot of songs that I wouldn't want to ever lose. Their albums are all good, and you can basically start out with any of them. The most adventurous will want to pick <strong>Mogwai Young Team</strong> or <strong>EP+6</strong>, while the most cautious can try <strong>Ten Rapid</strong> or <strong>Happy Songs For Happy People</strong>. It's your choice.</p>

<p><a href="mailto:sirmustapha@ig.com.br">Mail your ideas</a>!</p>

<hr />

<h2 id="rapid">Ten Rapid (1996)</h2>
<p class="medium">
  Best song: <big>New Paths To Helicon, part 1</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Summer ++</span></li>
  <li>New Paths To Helicon, part 2<span class="good">+</span></li>
  <li><span class="good">Angels Versus Aliens ++</span></li>
  <li>I Am Not Batman</li>
  <li>Tuner</li>
  <li>Ithica 24/7 <span class="good">+</span></li>
  <li>A Place For Parks</li>
  <li><span class="good">New Paths To Helicon, part 1 ++</span></li>
  <li>End</li>
</ol>

<p>Well, this could be considered Mogwai's debut, but I wouldn't be so sure about it. This is actually a compilation of singles, EPs and other stuff the band released before their first full-fledged LP, <strong>Mogwai Young Team</strong>. There are actually eight songs here, gathered from several assorted releases ('End' is merely track two played backwards). It's a short album, clocking at just thirty-three minutes, but it's one helluva good record both for fans and for casual listeners who want to check out a bit of Mogwai without being overwhelmed. After all, most of these songs were singles (both A-sides and B-sides), so they are compact and tight. None of them go over six minutes - only two come close.</p>

<p>And what I have to say is that this is a great thing to listen to. It packs up many great melodies, several great compositions that manage to capture several sides of the band, you see. There is even one song with <em>vocals</em> in it ('Tuner', which was re-recorded especially for this release), and just as you have short, interesting tunes ('New Paths To Helicon, part 2'), you have the "masterpieces" ('New Paths To Helicon, part 1'); just as you have the light, friendly songs ('A Place For Parks'), you have the wild dyamics and sudden shifts between low whispering and OH-MY-GOD-MY-EARDRUMS-ARE-SCREAMING-WITH-PAIN loud ('Ithica 24/7'). It's all fine and dandy here. Whatever your taste is, you're bound to like something here. And you're also bound to have a small sample of what things the band is capable of doing, be it in terms of quality or experimentality. But if you want to have a <em>real</em> taste of Mogwai's "experimentality", you'll be better off with <strong>EP+6</strong>.</p>

<p>As for this release, in its thirty-three minute glory, you'll have fabulous things like 'Summer'. It's one of the finest things the band ever did in four minutes - so good that it was even rearranged for <strong>Mogwai Young Team</strong>. And even though I heard the so called "Priority Version" of the song in their first LP first, I like this version better. It's got all the melodies, the glockenspiel, the bass lines, the short outbursts, the guitar fiestas and the "hyperspace" outburst that the song needs. It's simply a wonderful song. The next wonderful song is 'Angels Versus Aliens', which begins as an average, slowish Mogwai song, before the instruments start to hurry up, and they launch into what sounds like the "battle" section of the song. Surprisingly, it's not what you're thinking of if you already heard the likes of 'Stereodee'. The instruments just bash on and on over one chord, with the stomping of the bass and tom-toms countered by the constantly tinkling glockenspiel and cymbals. It's beautiful, relatively subtle and it works wonders.</p>

<p>Another package you will find here is Mogwai's single, formed by the "two-part composition" 'New Paths To Helicon'. The two parts (often referred to as simple 'Helicon 1' and 'Helicon 2') are radically different from each other, so they aren't exactly as "two-part" as you might have been thinking. But that doesn't matter. Part two is quiet, slow and humble, with the bass guitar playing the main melodies and the guitar just following. If you hear that track first, you might have no idea of how part one is: it's the lengthiest song here (only six minutes, though), and it's basically the most evocative, visionary song they ever did. I don't know, but whenever I hear that song, I can picture red skies, orange clouds and a vast field. And it's impressive how well they achieve that just with another classic Mogwai bass line and <em>three notes</em> (though you shouldn't be surprised to hear about the band making songs with three notes, as you will see in the likes of 'Mogwai Fear Satan'). But then again, it all has to do with how they build up tension and deflate it slowly and gently, I guess. It again shows how skillful the band is when it comes to creating soundscapes with their instruments. And amusingly, as if one person wouldn't believe the band couldn't make decent melodies, the album begins with 'Summer'. Great.</p>

<p>As for the other songs, 'Ithica 24/7' is considered as a classic, and I can see why. It again has not much more than those simple guitar lines, and it's less than three minutes long. But seemingly with a simple wave of their hand, they create one of those brutal quiet-loud shifts that lasts for seconds but feel like a hurricane blowing right through you. And it's <em>beautiful</em>. The other songs are all relatively subtle: 'I Am Not Batman' has an unclear, distorted guitar haze and - once again - the bass guitar leading the way. 'A Place For Parks' is yet another of those fabulously simple but gorgeous songs. It has none of those dynamic shifts, but the instrumental melodies are more than enough here. Finally, 'Tuner' is as close to an "average ballad" as it could ever be. You know, I hate talking about bands doing "normal" or "average songs", but you know, this is <em>Mogwai</em>. I can't help but notice.</p>

<p>I say, get this album if you won't bother chasing the band's original singles - if they are even available as we speak. But remember the short length, so if possible, don't pay lofty prices for it. Just remember that some songs here are absolute classics, and even the casual fan needs them. Loving 'Helicon 1' is almost an obligation.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Fine and dandy. Lots of neat stuff spread all over it.<br />
  <big>Resonance:   <strong>13/15</strong></big> - It's highly atmospheric!<br />
  <big>Originality: <strong>12/15</strong></big> - Hmm... I don't remember hearing anything else like this.<br />
  <big>Richness:    <strong>14/15</strong></big> - Beautiful songs! Gorgeous melodies and soundscapes.<br />
  <big>Solidness:   <strong>11/15</strong></big> - Well, it's short... and it's a compilation.
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12" />
</p>

<p>Comments? Remarks? Words of praise and angst? <a href="mailto:sirmustapha@gmail.com">Mail me</a>!</p>

<hr />

<h2 id="team" class="best">Mogwai Young Team (1997)</h2>
<p class="medium">
  Best song: <big>Tracy</big><em>, but it's a tough call.</em>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Yes! I Am A Long Way From Home ++</span></li>
  <li><span class="good">Like Herod ++</span></li>
  <li>Katrien <span class="good">+</span></li>
  <li>Radar Maker</li>
  <li><span class="good">Tracy ++</span></li>
  <li>Summer (Priority Version) <span class="good">+</span></li>
  <li>With Portfolio</li>
  <li>R U Still In 2 It <span class="good">+</span></li>
  <li>A Cheery Wave From Stranded Youngsters <span class="good">+</span></li>
  <li><span class="good">Mogwai Fear Satan ++</span></li>
</ol>

<p>Mogwai's first full length LP effort gave them all the space to create a more definitive, developed sound. And I'd even say that <em>this</em> is the best purchase for the uninitiated, since it packs a big number of creative, original ideas in a very tight and solid package. Every song here is a score, in varying levels and degrees.</p>

<p>Notice that this doesn't mean this record is likely to make the uninitiated <em>love</em> Mogwai right away - it's actually a good album to make the listener decide whether it will be worth it going further down the band's catalog. It's not that they don't have other good releases, but this album provides a very balanced view on the band's characteristics. If the listener is willing to take a less dangerous path and settle down with the most immediately likeable albums, he'd better chase down <strong>Happy Songs For Happy People</strong>, or maybe <strong>Ten Rapid</strong>. But this is what I consider the quintessential (and, also, the best) Mogwai record so far. Thing is, Mogwai are tricky to deal with. You should already know that by now, but you can never say that too many times. And this release will show you very well the band's skill of assembling together the "beautiful" and the "ugly", the dreamy with the nightmarish, and you can insert as many clich&eacute; antitheses here as you wish.</p>

<p>And such dichotomy is present through the entire album - sometimes even in the same song. In that case, the listener must be ready to take the "ugliness" for what it is: an artistic statement, not a "flaw". Otherwise, you'd have that kind of syndrome that goes "this song would RULE if they didn't insert that obnoxious noise!" or "this album would RULE if it didn't have this, this and that song". And I don't think it's any sign of arrogance and/or elitism to say that I actively enjoy the whole album, even the most... um, "difficult" parts. That's not to say that I find it <em>pleasant</em> to hear everything here, but I definitely like the album for what it is.</p>

<p>It's not that you'll really have <em>that many</em> onslaughts of noise, loud sonic attacks and unbearable dynamic shifts and such. But of course, you don't need a huge <em>amount</em> of that stuff when you have a track like 'With Portfolio', which for about a minute, is a pleasant piano "ambient" song with a slow rhythm and sparse notes, over some strange, scraping noise on the background. However, after that minute is over, the noise takes over COMPLETELY, getting louder than your speakers and your eardrums can stand, and panning from side to side until your brain is tied into a knot. And this might sound like hyperbole, but I <em>do</em> have difficulty listening to that noise, and I <em>did</em> listen to <strong>Metal Machine Music</strong> on headphones more than once (and, to be honest, <em>enjoyed</em> it). This stuff is purposefully made to attack your eardrums, so whether you can listen to it or not, you'll have to take it as part of the landscape.</p>

<p>Another beauty is 'Like Herod', an eleven minute song made almost entirely with just one chord. But it isn't at all about the chords: Dominic Aitchison plays a sneaky, scary bass line, while the rest of the band gives him a soft, but dark, background. It gets quiet, even sneakier, even quieter, until you can barely hear it... Sheesh, I shouldn't really spoil the song, but no, DO NOT turn up the volume when you reach that part of the song. It is <em>supposed</em> to frighten you (and it <em>does</em> frighten me, after all, I can <em>never</em> tell when the song is going to erupt), and they pull of that trick <em>twice</em> in the same song. You might think it's just a stupid, childish gimmick, but if you do, you're just bound to dislike the band anyway. I think it works, and the band does it really well.</p>

<p>There are more of those dynamic shifts on the album; they're just not so sudden and aren't the main feature of the songs. Still, this isn't a good record for playing on the living room, when receiving visitors: either you have a very good control over the volume knob, or you'll end up pissing them off. This is the proverbial "headphone album", or an album to play loud on a stereo when there's no risk of having your neighbours invading your house with torches and rakes. After all, with so much good music here, you need to <em>feel</em> those huge contrasts to make the experience really come alive. What's the fun of listening to 'Mogwai Fear Satan', for example, when you won't have the furious
playing getting straight in your veins? And what's the point of listening to the album without allowing 'With Portfolio' to make your ears bleed till you die? Okay, okay, the jury's still out on that one, but you know what I mean. And it should be made clear that the band's strength isn't just in pulling those tricks (or pranks, or gimmicks, or whatever you call them): there's lots of <em>good music</em> here! You shouldn't miss THAT, you know, and go nuts over 'Like Herod' without caring for all the other excellent songs in the album. For example, the opening track is one of the best here. It's just another example of the band's skill in making beautiful, lush and evocative sonic paintints with their guitar sounds, minimalist playing, attention to detail and, of course, the big climax with gruesomely distorted guitars. It's really beautiful, affecting stuff - pleasant and striking at the same time. More striking than 'New Paths To Helicon part 1', we can say, but less melodic and evocative. But how fair it is to compare any song to 'Helicon 1'?</p>

<p>But there's more! There's 'Tracy', which is just a miracle. One of the few plain "ballads" of the album, it presents the band getting radically slower and gentler, with just a soft, hushed percussion track and whispering synth chords on the back. On top of that, you have that wonderful, gorgeously sweet melody played on a glockenspiel (or is it a celesta?). You can't imagine what kind of effect that melody produces until you hear it. And when you think the band is <em>just</em> about to launch into a nightmarish explosion, they step on the brakes, and let the song end with a lengthy "ambient" section with synth pads and the recording of a telephone conversation about a misunderstanding among the band, which turned out to be a practical joke (!!!). The other ballad of the album would be 'R U Still In 2 It', and you'll <em>have</em> to get past the abbreviations in the song title. It's the only song with vocals here, and it's as "traditional" as the band gets here. And it still manages to impress me. You can face it as a normal, everyday Mogwai song, with the vocals being just another "feature", like the telephone conversations, noise outbursts and dynamic shifts. It works well like that.</p>

<p>As for the rest, there's 'Katrien', which doesn't have a lot in common with 'Tracy' other than the female name. It's faster, "rockier", with radical dynamic shifts, but they are <em>gradual</em>. It's mostly based on the same rhythm, the
same chord changes, and the same kind of guitar sound, but it alternates the dynamics in very clever ways. It's exciting and beautiful, and one of their best examples in tension building. And I mean <em>tension</em>, man! You can almost feel the song's muscles getting tense and stiff as the song grows. In the end, it deflates itself in barely a split second, with everything slowing down suddenly. As for the new version of 'Summer', well, it truly sounds like a different song: the time signature is different, the tempo too, the structure of the song is altered, and the sudden dynamic shifts are placed in different sections of the song. I think I already said I like the single version much better, so I don't need to repeat it. And while this version of the song works well in the context of the album, it's not worth much on its own.</p>

<p>The album's finale is more than guaranteed with the 16 minute opus 'Mogwai Fear Satan', which does wonders with the fewest number of notes the band could assemble. The bass riff is the same all the way through, and once again, the band keeps changing the volume and tension all the time, in the most convincing ways as possible. What makes this song so cool is that it's faster than usual, and instead of whirling all around you like some crazy winds, or evoke pretty images in your head, it grabs you by your collar and shakes you in all directions. You must truly let the song grab you if you want to enjoy it properly. But that feeling eventually passes, as the song slows down for a lengthy, quieter ending section, which deflates itself <em>very</em> slowly. And the flute solo makes all the difference.</p>

<p>The songs I didn't mention are pretty much short piano transitions, with 'A Cheery Wave From Stranded Youngsters' featuring a drum rhythm and a distorted sound. The whole album fits very well together, and it's a brilliantly well designed package. Say whatever you will, but this is my favourite Mogwai record, if only because pretty much everything makes sense. There isn't one single loose track in there. Maybe 'Summer', but that's perfectly forgivable.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>15/15</strong></big> - I won't be a dork to pretend I "enjoy" 'With Portfolio', but like I said, it's part of the journey. Exciting, you know.<br />
  <big>Resonance:   <strong>15/15</strong></big> - There's a pretty darn fine landscape in there to be admired.<br />
  <big>Originality: <strong>14/15</strong></big> - This is <em>their</em> music, isn't it? They didn't start the whole Post Rock thing, but they have it their own way.<br />
  <big>Richness:    <strong>15/15</strong></big> - It isn't entirely <em>melodic</em>, but whenever there's no melody, it's compensated somehow. And very well.<br />
  <big>Solidness:   <strong>15/15</strong></big> - No flaws here.
</p>

<p class="ratingFinale">
  Total: <img src="images/15.png" alt="15" />
</p>

<p>Comments? Remarks? Words of praise and angst? <a href="mailto:sirmustapha@gmail.com">Mail me</a>!</p>

<hr />

<h2 id="young">Come On Die Young (1999)</h2>
<p class="medium">
  Best song: <big>Christmas Steps</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Punk Rock</li>
  <li>Cody <span class="good">+</span></li>
  <li>Helps Both Ways <span class="good">+</span></li>
  <li>Year 2000 Non-Compliant Cardia <span class="good">+</span></li>
  <li>Kappa</li>
  <li>Waltz For Aidan <span class="good">+</span></li>
  <li>May Nothing But Happiness Come Through Your Door <span class="good">+</span></li>
  <li>Oh! How The Dogs Stack Up</li>
  <li>Ex-Cowboy <span class="good">+</span></li>
  <li>Chocky <span class="good">+</span></li>
  <li><span class="good">Christmas Steps ++</span></li>
  <li>Punk Rock/Puff Daddy/ANTICHRIST</li>
</ol>

<p>And so arrives the second album. And how should I start the review of an album that isn't such a dramatic change from the previous? "More of the same"? No, it's not more of the same. The album has a fairly different sound and mood, but the essence remains practically unchanged.</p>

<p>What actually changed is the quality. Er... well, let's not be so drastic. I can't discuss "quality" here. The fact is that I like this album less. And not "just a bit less", you know. To me, <strong>Mogwai Young Team</strong> is definitely superior. This album lacks some truly <em>outstanding</em> songs, and as a whole, it's not very solid. There isn't a wide range of moods, you see. Everything is kind of similar. You know that I tend to enjoy albums that have one solid mood and atmosphere and deliver it well, but I prefer Mogwai when they deal with dynamics (not just loud/quiet, but many other kinds of contrasts as well), and the sameyness of the record ends up making it less engaging, to me.</p>

<p>But I can't deny that the musical ideas just keep coming, and every track has a reason to exist. They're all swell, and thus, I do enjoy having the album laying around. I can listen to it all the way through, but there's hardly anything in it that would make me choose it over <strong>Mogwai Young Team</strong>, when I'm in the mood for Mogwai. To be more incisive, considering its length, I don't enjoy <strong>Come On Die Young</strong> much more than <strong>Ten Rapid</strong>. But it's no mean feat at all that the band was able to fill up sixty-six minutes with actual musical ideas, and not just instrumental meandering. But then, isn't that subjective? You could say that the nine minutes of 'Ex-Cowboy' and the nine minutes of 'Chocky' <em>are</em> instrumental meandering, just as well as you could say they are not. Who's right and who's wrong? Neither. Mogwai is too subjective, and that's why it's a bit hard to start reviews like these. You can't use words like "good" and "bad", but using words like "like", "dislike" and "in my opinion" makes a review look a bit weak. Doesn't it? Does it? Who's to know? I'm just a reviewer of a rock 'n' roll band.</p>

<p>Well, okay. Let's open this review in a high note. I read an opinion that 'Christmas Steps' is the best Mogwai song ever, and I wouldn't dispute that. Personally, I hold other Mogwai songs in the same standards, and they are <em>high</em> standards. 'Christmas Steps' is actually a re-recording, since it was first released on the EP <strong>No Education = No Future (Fuck The Curfew)</strong>, one year before, with a different recording and the title 'Xmas Steps'. And since something makes me like the EP version slightly more, I'll reserve all the raving for the <strong>EP + 6</strong> review. But suffice to say, I think it's the best song here. It's the lengthiest, too, at ten minutes. The other "lengthy" songs are also good, though not in that level of quality. 'Ex-Cowboy' (I really like that title) is one of those classic Mogwai songs with a bass riff supplying the whole foundation of the song. And yes, the basic structure of the song is also "classic", growing from the sole bass riff into a guitar noise fiesta, settling down for a quieter middle break, and letting all hell break lose again. 'Chocky', on the other hand, starts as if it was going to be a regular two minute solo piano intermezzo (the position here is occupied by 'Oh! How The Dogs Stack Up'), but with seven minutes remaining, it turns into a solid, mean piano led song, more plodding and heavy than usual. It ends with one of those blocks of solid noise, but compared to 'With Portfolio', it sounds like Sigur R&oacute;s. 'May Nothing But Happiness Come Through Your Door' is one that I like a lot, with a moody, only faintly grim song with guitar lines alternating gently through the song. I particularly like that mini-climax right in the middle of the song.</p>

<p>You might have guessed (or not), but the one "mood" the album creates is exactly that kind of "subtle grim" of 'May Nothing But Happiness Come Through Your Door'. It's also represented in shorter tracks like the repetitive, mantraic 'Helps Both Ways' and the dramatic 'Kappa'. It's also somewhat noticeable on the opener, 'Punk Rock'. You can hear the guitar at times, but the main "instrument" of the track is Iggy Pop saying something about Punk Rock on an interview. Reportedly, Mogwai identified themselves a lot with Punk, so the inclusion of the Iggy sample is probably a nod towards him. Me? I can't relate to any of his words, you know; for example, I've been in the grips of music that's much more powerful than any Punk rock out there, for example, Sigur R&oacute;s. The album closer, with the odd title, is practically a deformed version of the opener, with a trombone solo. Pretty spooky, I say.</p>

<p>I happen to like a lot the songs that vary in mood. For example, 'Cody', a gentle ballad with subtle vocals is very, very nice. It doesn't "stand out" like 'R U Still In 2 It', for example, but in the album, it works very well. 'Waltz For Aidan' (in honour of Aidan Moffat, who sang in 'Are You Still In 2 It') is particularly sweet, with nice little guitar melodies, and a brilliant flute touch. I'm also fond of 'Year 2000 Non-Compliant Cardia' (another brilliant title), which comes as a sort of louder, more definitive addendum to 'Helps Both Ways'. Yes, you know, I like variety like that. In the end, I don't know if this is an album I can "recommend". Any Mogwai fan should own it, but it's not a very smooth "introduction" to the band, and it's not essential for someone who has little more than a passing interest. I'd even recommend <strong>EP + 6</strong> more, since it has 'Xmas Steps', and more interesting songs. <strong>Come On Die Young</strong> is a welcome addition in their catalog, but not much more than that. You can think of it as the proverbial "sophomore slump", if you wish, though I wouldn't dare call it a slump.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Hmm... Think of it as a thirteen in a very adequate day.<br />
  <big>Resonance:   <strong>11/15</strong></big> - Sometimes the "grim" works well, but too much of it makes the effect wear out.<br />
  <big>Originality: <strong>12/15</strong></big> - Still being themselves, but being a bit repetitive.<br />
  <big>Richness:    <strong>13/15</strong></big> - Oh, there <em>are</em> great ideas spread all over it. Very little <em>awesome</em> ideas, though.<br />
  <big>Solidness:   <strong>10/15</strong></big> - Eh.
</p>

<p class="ratingFinale">
  Total: <img src="images/11.png" alt="11" />
</p>

<p><a href="mailto:sirmustapha@gmail.com">Send me your opinions</a>! They're important!</p>

<hr />

<h2 id="ep6">EP + 6 (2000)</h2>
<p class="medium">
  Best song: <big>Xmas Steps</big><em> or possibly </em><big>Stereodee</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Stanley Kubrick <span class="good">+</span></li>
  <li>Christmas Song <span class="good">+</span></li>
  <li>Burn Girl Prom-Queen</li>
  <li>Rage:Man</li>
  <li><span class="good">Xmas Steps ++</span></li>
  <li>Rollerball</li>
  <li>Small Children On The Background</li>
  <li>Superheroes Of BMX <span class="good">+</span></li>
  <li>Now You're Taken</li>
  <li><span class="good">Stereodee ++</span></li>
</ol>

<p>You <em>can</em> think I am a dork, because I really like this one. For starters, this is pretty much a compilation. This is actually <strong>Mogwai: EP</strong>, released in 1999, which originally contains 'Stanley Kubrick', 'Christmas Song', 'Burn Girl Prom-Queen' and 'Rage:Man'. What they did was to put together their two previous EP's, oddly enough in reversed chronological order. They are <strong>4 Satin</strong> ('Superheroes Of BMX', 'Now You're Taken' and 'Stereodee') and <strong>No Education = No Future (Fuck The Curfew)</strong> ('Xmas Steps', 'Rollerball' and 'Small Children On The Background'), respectively from 1997 and 1998. The result is possibly their most diverse, interesting and unpredictable record to this point. After all, gathering "off-album" tracks from three different releases into one package makes thing very heterogenic, and in the case of Mogwai, it works extremely well.</p>

<p>For starters, I'd say the album gets progressively "weirder" as it goes back in time - especially when it hits <strong>4 Satin</strong>, but let's go by parts. <strong>Mogwai: EP</strong>, in my opinion, is what most resembles a "miniature Mogwai LP". With four tracks, it manages to capture some of the most important "aspects" of the band's music. 'Stanley Kubrick' is a cool song, slow, with a synthesizer sound that gives it a sound of "chilly air". I don't know whether the song was made to have a Kubrick mood, or if they just thought it was convenient to turn the song into a tribute to him. But it doesn't matter. 'Christmas Song', though, is my favourite: a gorgeous piano-led ballad that's more gentle and honestly tender than almost every ballad they made to this point. It's so nice, in fact, that it's almost un-Mogwai-ish. I mean, there's no mischief in it. It's nice and short, and very beautiful. And reminds me of Christmas. Pretty. On the flipside, you find 'Burn Girl Prom-Queen', which follows the structure of their "long songs". More or less. Instead of growing into guitar chaos, it just grows nicely and gently, until the lengthy coda with brasses. What I find funny is how the guitar line in the beginning gives you a wrong impression of what the chords will be like. At least it gave <em>me</em> a wrong impression the first time I heard it. Finally, 'Rage:Man' is the classic tune that bursts with a hellish middle section from HELL, a la 'Ithica 29/7'. It has tingly harmonics and disturbing pianos, that make the song sound like a deceptive ballad, though. Now <em>that</em> is mischief. Nice song for living rooms and dinners. Just like that. Great song.</p>

<p>Let's keep up the album order and move on to the second EP. Yep, this is the one that contains 'Xmas Steps', and this is where I should rave about the song. See, it isn't necessarily better than certain songs from <strong>Mogwai Young Team</strong>, but it manages to be an exceptionally emblematic and representative song without following certain commonplace "patterns". The song begins in a dreary tone, with a barely audible bass line. But instead of "mounting tension", it lets that atmosphere settle around you. And when you less expect, the song begins to take shape, a louder guitar comes in, a rhythm forms and speeds up, and takes off into a faster, louder middle section with drums and distorted guitars. It goes through several "degrees" of intensity, as well as several degrees of coolness, with plenty of nifty guitar work in there. The rest of the song slows down and unbuilds the rhythm slowly, settling itself back into
the darkness. It's a fabulous composition, and there aren't any immediately striking differences between the 1999 version and this recording. This one is slightly longer, features a different mix, with more contrast, and features an actual violin solo at the end, instead of the mixed violin echoes from the <strong>Come On Die Young</strong> version. I prefer the EP version slightly, for no solid reasons.</p>

<p>Side B doesn't really hold up too well, but how could it? 'Rollerball' is kind of like that proverbial "average" slow, quiet Mogwai tune, but slower and quieter than usual. 'Small Children On The Background' is a bit faster, back to the well known "atmospheric" soundscape, with a <em>constant</em> noisy guitar haze behind the instruments, even during the gentle moments. It gets rougher during the middle climax, and has odd vocal samples at the ending. Nothing exceptional, but very enjoyable. Now, if you're in for something exceptional, the <strong>4 Satin</strong> EP couldn't have come in a better occasion. Right from the start, you're welcomed with 'Superheroes Of BMX', an eight minute track built almost entirely over a strange, hip hop-like drum machine, with moody, eerie synth chords over it. It's usual to have only two chords alternating during an entire Mogwai song, but the setting here is quite strange. A timid guitar line joins in after a while, but then, they just start to do all sorts of squeals and howls with their guitars to increase the level from "mesmerising" to "scary". A very, very solid song, I say; one of the most interesting here. 'Now
You're Taken' isn't as exciting, but it's also kind of eerie: a lengthy "ballad" with one short guitar phrase coming up in certain intervals to keep the song moving. It's not 'R U Still In 2 It'; it's eerier. And has that mesmerising riff, of course. Very unsettling.</p>

<p>But that's <em>nothing</em>, folks; <em>nothing</em> compared to the ultimate reason for owning this record. Not that it's the only one, but it's the definitive. Love it, hate it, worship it, despise it, 'Stereodee' is something of a definitive "test" for admirers of the band. Yeah, like 'Sister Ray' for the Velvet Underground. But 'Stereodee' is... well, not "cooler", I'd say. 'Sisier Ray' is cool as hell. But 'Stereodee' is... how can I say? Just great. Yeah, I might be dork for saying that, but I accept that. I love 'Stereodee'. If you don't, I'll understand. See, for about three minutes, it's a perfectly fine, friendly tune. Those with a sharp ear will notice that echoey intro is actually 'Yes! I'm A Long Way From Home', but after that, it takes off into a fun, upbeat and exciting little groove. In fact, it's so nice, I wouldn't bother at all if it went on for, say, six minutes. And then, comes the legendary "tension building", but it's more of a faintly climatic ending. And you know when those rock bands finish their orgasmic, apotheotic songs with a loud, "rolling" chord that sometimes go on for half a minute?... Yes, that's the 10 final  minutes of 'Stereodee', but it might happen to be the most monstrous and gruesome "apotheotic coda" you've ever heard. This monstrous wall of sound erupts from the song and <em>stays there</em>, cymbals splashing, guitars shaking the Earth
and emiting wails and whistles of feedback, your speakers yelling "PLEASE STOP THIS". I just love it. To me, it's a perfect use of noise not as "experimentalism", or "pure noise". This is exciting, adrenaline-inducing noise. It goes on, and on, and <em>on</em>. And what's also cool is that instead of leading into a climactic "TWANG...!" like those boring rock bands do in live shows, the song starts to fuck up, freak itself up, like the band executed an illegal operation and has to be finalised; it breaks off into a weird, pseudo-techno synth thang, and ends with random organ chords. Plain awesome.</p>

<p>Yes, and I <em>still</em> find 'With Portfolio' painful to listen. See, 'Stereodee' isn't excuciating noise. For some, it might be, but if people can endure huge speakers blasting out Punk rock in front of them in live shows, in such a way that they feel their lungs vibrating to the sound, I can't see why they'd think <em>this</em> stuff is unlistenable. And I prefer this kind of noise than to all the generic Punk is out there. 'Stereodee' is coolness taken to the extreme <em>without effort</em>, and not as a mischievous joke, like Lou Reed once did. It's music, just like 'Superheroes Of BMX' and 'Now You're Taken'. <strong>4 Satin</strong> might be their coolest EP up to this point, but the other two are brilliant as well, and are fully deserving of being put together. This "compilation", or whatever it is, is easily one of the most curious Mogwai releases, and one of their most rewarding experiences as well. It's, by no means, a great introduction. But if you have been acclimated to their music already, and had some interest in their "extremes", this is a great place to look at. Seek this out if you can, be it the whole album, or the separated EPs.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>14/15</strong></big> - I'm not kidding. Most of this stuff is 100% enjoyable.<br />
  <big>Resonance:   <strong>14/15</strong></big> - Absolutely! It's just not perfect, but it doesn't need to be.<br />
  <big>Originality: <strong>14/15</strong></big> - Some of their most adventurous music ever, I believe.<br />
  <big>Richness:    <strong>15/15</strong></big> - Any flaws? If there are, I can't see any.<br />
  <big>Solidness:   <strong>13/15</strong></big> - It's... it's <em>not</em> an album. See, I'm just not sure of giving it a <em>14</em>. It's an extremely strong 13, though.
</p>

<p class="ratingFinale">
  Total: <img src="images/14.png" alt="14" />
</p>

<p><a href="mailto:sirmustapha@gmail.com">Send me your opinions</a>! They're important!</p>

<hr />

<h2 id="action">Rock Action (2001)</h2>
<p class="medium">
  Best song: <big>You Don't Know Jesus</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Sine Wave</li>
  <li>Take Me Somewhere Nice <span class="good">+</span></li>
  <li>O I Sleep</li>
  <li>Dial: Revenge <span class="good">+</span></li>
  <li><span class="good">You Don't Know Jesus ++</span></li>
  <li>Robot Chant</li>
  <li><span class="good">2 Rights Make 1 Wrong ++</span></li>
  <li>Secret Pint</li>
</ol>

<p>A few changes came with this record. The most noticeable of them is the length of the record: thirty-eight minutes! You might feel a bit ripped-off by such a short record, but I actually don't mind that. It makes the album more digestible, you see. And on a slightly off note, this album confirmed a feeling I had with this band: their songs don't really have "titles". See, a Mogwai website featured the cover of a "promo" CD of <strong>Rock Action</strong>, or some test pressing, I don't remember. And the songs, even after recorded, didn't have names! They were just given descriptions, you know. And what does that mean? That the "titles" are just clever phrases the band came up with, attributed to the songs in a more-or-less random fashion! Well, okay, 'Robot Chant' has a very apt title, but the others? Not much.</p>

<p>So, this record is actually pretty... random. Compared to <strong>Come On Die Young</strong>, this album is quite stunningly diverse. And cheery. Yes, <em>genuinely</em> cheery. Some of these songs are the happiest songs they ever wrote. And in fact, I could only name two tracks that are "eerie" in the traditional sense. One of them is the opener, 'Sine Wave', which draws influence from the likes of industrial music, or Nine Inch Nails, with fuzzy buzzy rhythms and synthesizers and squeaks, which serve as spice for the usual "minimalist melody". It grows and grows, only to be deflated later, and the whole thing lasts for four minutes. It's not the most impressive thing the band ever did, but it's at least refreshing. The second eerie song happens to be my favourite: 'You Don't Know Jesus' goes back to the "mesmerising riff" style, and actually builds one <em>hell</em> of a song over one <em>hell</em> of a riff. Only three descending notes, mainly, but it rocks, trashes and crashes with might. The dynamics is just perfect, and they know just the point to let go and let the song turn quieter and creepier, and then burst for a small, but definitive climax. At eight minutes, this is a worthy competitor against the best tracks on <strong>Come On Die Young</strong>.</p>

<p>And though it has one of the best Mogwai song titles ever, I can't even say it's the best song here by far. The two other "long songs" are almost there, in terms of quality. And they're two pleasant ballads. 'Take Me Somewhere Nice' is like a less dramatic, gentler re-attempt at a ballad a la 'Cody', featuring a really nice guitar line and string arrangements. It's quite evocative and beautiful, and shows again that there's a lot of worth in Mogwai. As for '2 Rights Make 1 Wrong', it defies descriptions. It introduces the "mosquito Vocoder" effect they'd employ a lot on the next album, but the focus is given on the slowly building fiesta of guitar, bass, splashing drums, brass band and whatnot, with an instrumentation that reminds me of 'Burn Girl Prom-Queen', but in a cheery set up. I really like the stuff they play, the happy, friendly chords and upbeat, splashy rhythm. Then, it settles for what seems to be the quiet middle break, but it goes on and on, and slowly morphs into all sorts of hazy, unclear things. Of all things, the song starts circling the same two chords, a strange pinging synth pattern, a few vocals and a <em>banjo</em>. I know I really like this stuff.</p>

<p>We're left with a couple of tracks that vary wildly in terms of style and purpose. Of those, my favourite is 'Dial:Revenge', which has a faintly Spanish taste in its acoustic guitars and strange-sounding vocals (supplied by Gruff Rhys of the Super Furry Animals). It's a really pleasant and beautiful "pop song" that's just not very pop. The lyrics are damn uninteligible, but who cares? The melody is brilliant. As for 'Secret Pint', it's the stragest ballad they've written so far: pounding, dramatic and slow, with loud acoustic guitars and pianos. This album has the taste of a hastily put together package of odds and ends, with very few full-fledged compositions, but I like that format. It's easy to digest and accessible, and it turned out to be one of the most successful Mogwai releases ever. In some releases, you can find some extra tracks. and of them, the untitled seven minute song is <em>highly</em> recommended: a beautiful, evocative quiet song orbiting a little guitar riff, going through pleasant chord changes. Really, really pleasant. 'Close Encounters' is shorter, but it's also surprisingly beautiful and soothing. Having them as an addition to the album is very good, but even without them, the album is quite nifty - even if you think too few songs are genuinely worth having.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - Lots of enjoyable stuff. It's short, but satisfying.<br />
  <big>Resonance:   <strong>12/15</strong></big> - Well, it's not disappointing. The cool bits are <em>very</em> cool.<br />
  <big>Originality: <strong>12/15</strong></big> - Umm... Well, it's fresh, for Mogwai's standards.<br />
  <big>Richness:    <strong>13/15</strong></big> - No doubt about it. Though there are a couple of "odds and ends", they don't harm the experience.<br />
  <big>Solidness:   <strong>12/15</strong></big> - It flows well. And it's tight and compact.
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12" />
</p>

<p><a href="mailto:sirmustapha@gmail.com">Send me your opinions</a>! They're important!</p>

<hr />

<h2 id="people">Happy Songs For Happy People (2003)</h2>
<p class="medium">
  Best song: <big>Ratts Of The Capital</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Hunted By A Freak ++</span></li>
  <li>Moses? I Amn't</li>
  <li>Kids Will Be Skeletons <span class="good">+</span></li>
  <li>Killing All The Flies <span class="good">+</span></li>
  <li>Boring Machines Disturbs Sleep</li>
  <li><span class="good">Ratts Of The Capital ++</span></li>
  <li><span class="good">Golden Porsche ++</span></li>
  <li>I Know You Are But What Am I? <span class="good">+</span></li>
  <li>Stop Coming To My House <span class="good">+</span></li>
</ol>

<p>The album gained a few good four or five minutes, but in turn, there's only one song here that exceeds the six minute mark. As for the mood of the album, well, it's considerably less cheery. Not that it's <em>sad</em> and grieving as some people seem to find, but it's far more ambiguous. You know? Seemingly cheery at times, seemingly bitter at others, with sprinkles of hope and whatnot thrown in for good measure. That's quite good for the band: since they haven't been using the wild dynamic shifts anymore, they're applying a wider emotional pallette in their music. If you can get emotions from Mogwai, that is, of course.</p>

<p>But if all you can get from Mogwai is good music, this album will probably be quite a thrill. Unlike <strong>Rock Action</strong>, the album doesn't sound so loosely put together, and there seems to be something running through all those songs that make them stick together and form a solid, complete package. There are no loose ends; everything is quite tight, and all songs present punchy, compact musical ideas. It's a bit less varied than <strong>Rock Action</strong>, but not at all monotonous like <strong>Come On Die Young</strong>. The album is just a bit heavy on the plodding, dramatic, grim-sounding tracks, and they are really good. 'Hunted By A Freak' and 'Killing All The Flies' both make use of the strange, mosquito Vocoder sound, but instead of just using them for the sake of coolness, the band employs them for quite strong melodies. The former, in particular, is quite memorable, backed by a catchy, weird-sounding guitar riff, but the later could be a quite top-notch pop song if it were less idiosyncratic. 'I Know You Are But What Am I' dumps the Vocoder and is carried by a constant tapping of mainly a single piano note. It swells a bit, at times, with glockenspiels and drums, but it's mostly that nagging piano note hammering down on your head.</p>

<p>There are two "humming drones" here, the former being 'Moses? I Amn't' based on a sombre melody, and the hazy 'Boring Machines Disturbs Sleep' which features equally hazy vocals. And the one long song here is the brilliant 'Ratts Of The Capital', built on a "waltzy" rhythm with circling glockenspiels and guitars, which keeps spinning around those chords endlessly, bumping into heavy guitar chords for a while, until it settles down on the creepy plucked guitars at the end.It's the usual Mogwai tension building, but the fast, pulsating rhythm really keeps things going. Yet, there are three songs here that sound quite genuinely pleasant and happy. 'Kids Will Be Skeletons' is written around one of those three-note melodies played using guitar harmonics, following the traditional "rise-and-fall" structure, using quite pleasant keyboard and echoey guitar textures, and 'Stop Coming To My House' ends the album on a hopeful, uplifting note. It's hard to describe this song while avoiding the My Bloody Valentine comparison, so there it goes, even though everyone says it already anyway. It's no doubt that Mogwai were heavily influenced by the band, so it can be seen as a sort of homage. It was also a bit disappointing to fans, since when the album leakes prior to its release, the song included a snippet of Happy Tree Friends at the end, which <em>isn't</em> on the official release. What a bummer, innit? And don't tell anyone, but that "official" release is <em>not</em> the one I have. Shhh.</p>

<p>Finally, the oddly titled 'Golden Porsche' is my favourite on the album, and I say that without shame. It's the shortest, simplest song in the album, without any dirty trick, any mischief, any haziness or ambiguity. It's pleasant, slightly sad, and downright <em>beautiful</em>. This is one of the most traditionally beautiful songs Mogwai every did, and it couldn't have been any other way, with that simple, nice melody, the soothing piano and guitar arrangements and the weepy violoncello on the background. The only thing that gives the typical bitter taste is the lingering, stinging guitar note at the end, but it doesn't spoil the picture at all. And the whole album is good, anyway, so don't keep the impression that the song is way better than everything here. It's not. The album is very good, one of the best, more accessible and readily enjoyable albums Mogwai ever produced. No, it does not worry me that the band is turning "softer"with this album. Of course I really liked the adventurousness of the EPs and the wildness of <strong>Mogwai Young Team</strong>, but my deal with the band is mainly good music, and that this album has. Plenty of it, in fact. It's a reasonable first purchase, since it shows enough aspects of the band without launching them at your face at high speed.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - No doubt about that. Really good stuff.<br />
  <big>Resonance:   <strong>13/15</strong></big> - There's a nice sense of completeness to these songs. They all seem to have a point, a purpose.<br />
  <big>Originality: <strong>12/15</strong></big> - Doesn't build a whole lot on the Mogwai legacy, though.<br />
  <big>Richness:    <strong>14/15</strong></big> - Oh, yes! Every song is well written.<br />
  <big>Solidness:   <strong>13/15</strong></big> - Very compact and satisfying, though it's not as immediately digestible like <strong>Rock Action</strong>
</p>

<p class="ratingFinale">
  Total: <img src="images/13.png" alt="13" />
</p>

<p><a href="mailto:sirmustapha@gmail.com">Send me your opinions</a>! They're important!</p>

<hr />

<h2 id="beast">Mr. Beast (2006)</h2>
<p class="medium">
  Best song: <big>Auto Rock</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Auto Rock ++</span></li>
  <li>Glasgow Mega-Snake <span class="good">+</span></li>
  <li>Acid Food <span class="good">+</span></li>
  <li>Travel Is Dangerous <span class="good">+</span></li>
  <li>Team Handed</li>
  <li><span class="good">Friend Of The Night ++</span></li>
  <li>Emergency Trap</li>
  <li>Folk Death 95</li>
  <li>I Chose Horses</li>
  <li>We're No Here <span class="good">+</span></li>
</ol>

<p>Okay, I did say I didn't worry about Mogwai getting soft. But not so much! Okay, okay, they didn't soften up that much, but comparing this album to the likes of <strong>Rock Action</strong> might already cause a bit of a shock. It's not a disappointment. It's not a bad album. On the contrary, it's a good, satisfying album, but it <em>can</em> be disappointing to those who were expecting something new and impressive from the band. To Mogwai fans, I bet that there's very little impressive stuff here. I'd be hardpressed to name one artist that makes music exactly like this, and the sound will certainly sound new and fresh to newcomers, but this is considerably less idiosyncratic and distinctive than their previous works. A shame? If you want to be dramatic, yes, a shame.</p>

<p>To me, this album leaves that taste of doubt, that wondering whether the band is <em>really</em> going down this path without hopes of coming up with another smashing release to the heights of <strong>EP + 6</strong>. Now, don't lower your expectations so much; there's quite a bunch of really interesting, entertaining little things here, and the band takes chances at some unusual styles here. The best example is 'Acid Food', one of those quasi-pop songs featuring Stuart Braithwaite's usual whispery vocals, an electronic pseudo-hip-hop drum pattern, rock guitars and a lap steel at the end. Huh? Even if it doesn't sound like much, the finished result sounds mighty fine, and it's a hell of a catchy song. Another interesting thing is the opener track, 'Auto Rock', which is built on an "epic sounding" piano melody, while the synth pulsates louder and louder, drums beging to stop heavily, guitars form that usual haze around you, and the whole thing grows almost out of control. What a cool piano melody, though! Very good.</p>

<p>And so, there's some loud, fast guitar hard rock on 'Glasgow Mega-Snake', which is quite heavy for Mogwai's stantards, throwing in cool chord changes and guitar riffs. 'We're No Here' goes in the same heavy path, but considerably slower, with heavy, pounding drums. There's also 'Travel Is Dangerous', which isn't as heavy, but is harder than the others. It's also one of those "pseudo pop" vocal songs, and a pretty good one, for that matter. The other excellent song here is 'Friend Of The Night', which is indeed excellent to the point of being released as a single. You realise that this is the first Mogwai single released in <em>five years</em>? And that the previous single, 'My Father, My Kind', wasn't an album track? Well, there. 'Friend Of The Night' is indeed very good, going in the "pop" structure but without lyrics, employing beautiful piano playing and big, tense swells, instead. It's really good, and the single B-sides, 'Fresh Crown' and '1% Of Monster' aren't bad at all, though they aren't very remarkable.</p>

<p>See, that's something this album has: unremarkable songs. Quite a couple of them. Most Mogwai songs, even those that don't really stick to my brain after the album is over, has something that really keeps me going, something that really works on my brain. Some songs here are just... <em>nice</em>, but they don't seem to do much other than just be nice and pleasant. 'Team Handed' has those heavy, pounding drums, and 'I Chose Horses' has eerie keyboard atmosphere and some Japanese text read by a member of japanese band Envy, though it's maybe a tad too long. They're not bad, I say. And two here already sound a bit recycled: 'Emergency Trap' has something of 'Golden Porsche' about it - certainly not the gorgeously simple melodies, that's for sure, and 'Folk Death 95' already seems like a crossover between 'Friend Of The Night' and 'Ratts Of The Capital', though it's much shorter. And... well, I can't say this album is a disappointment. But if anything, it's a backwards step from the stuff Mogwai used to do. What's for the future? I can't tell. I mean, the band hasn't had a steady discography; after a grandiose album like <strong>Mogwai Young Team</strong>, there was the relatively underwhelming <strong>Come On Die Young</strong>; after the lightweight <strong>Rock Action</strong>, there was the solid, heavy <strong>Happy Songs For Happy People</strong>. So, who can tell? I don't know if even the band can tell. The album gets a 12, which might look a bit low, but believe me, it <em>is</em> good. Just saying that the album is better than <strong>Loveless</strong> sounds terribly overreaching to me.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Can't say it's bad, at all. At the very, very least, it's pleasant.<br />
  <big>Resonance:   <strong>11/15</strong></big> - Some spots definitely stand out, but some others just roll by.<br />
  <big>Originality: <strong>11/15</strong></big> - They're still Mogwai, still using their own ideas, but...<br />
  <big>Richness:    <strong>12/15</strong></big> - I can't say it's a smash of a great melody after another, but there are fine, fine things here.<br />
  <big>Solidness:   <strong>11/15</strong></big> - It doesn't really disappoint, in any moment.
</p>

<p class="ratingFinale">
  Total: <img src="images/11.png" alt="11" />
</p>

<p><a href="mailto:sirmustapha@gmail.com">Send me your opinions</a>! They're important!</p>

<hr />

<h2 id="beast">Zidane: A 21st Century Portrait (2006)</h2>
<p class="medium">
  Best song: <big>Black Spider</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Black Spider <span class="good">+</span></li>
  <li>Terrific Speech 2</li>
  <li>Wake Up And Go Berserk <span class="good">+</span></li>
  <li>Terrific Speech</li>
  <li>7:25 <span class="good">+</span></li>
  <li>Half Time <span class="good">+</span></li>
  <li>I Do Have Weapons</li>
  <li>Time And A Half</li>
  <li>It Would Have Happened Anyway</li>
  <li>Black Spider 2</li>
</ol>

<p>The inevitable happened. Yes, that's right: Mogwai records a film soundtrack. A flipping soundtrack! And to what film? A documentary about ex-football player Zinedine Zidane, no less! I haven't watched the film, and I'm not sure if I have the urge to do so, but as I've read, the movie follows a complete football match but focusing <em>solely</em> on Zidane himself. Why he is a "21st Century Portrait", I'm not sure, but the director asked Mogwai to write and record the soundtrack, and they agreed. And so, this album came out.</p>

<p>The bottom line is, well, this album <em>does</em> sound very soundtracky, and is not among Mogwai's best. It's not among their worst, either, though. There's a lack of truly <em>headbuttingly great</em> songs here, and there's considerably more effort in making these songs atmospheric and involving than in writing those clever, catchy riffs that hit you in the chest with their magnificence. Not that there ain't any here, though. They just pale in comparison to classics like 'Auto Rock', 'Ratts Of The Capital' and 'You Don't Know Jesus'. But isn't the main focus here the <em>atmosphere</em>? Well, so what's that atmosphere? Very similar to <strong>Come On Die Young</strong>, to put it bluntly.In fact, 'Black Spider' is an outtake from that album's sessions, and the overall instrumentation and mood of the album is very similar to that of <strong>Come On Die Young</strong>. The rhythms are all slow, the guitars are quiet and moody, there's a bit of piano to give the album some colour, and it's very bass heavy. Like I said before, I'm not the greatest fan of <strong>Come On Die Young</strong>, but this record has the advantage of being a bit more compact, though it's quite far away from the <em>head on</em> impact of <strong>Rock Action</strong>, for example.</p>

<p>Also, oddly enough, a couple of songs here are presented in two, slightly different versions. So there are, oh my God, <em>seven</em> different songs here! Yeah, pretty much. And there's little variation in the mood and atmosphere, so for the weakest ones, the monotonousness will make your forehead hurt. BUT... well, BUT! Yeah, I like this album. It's not at all bad, and the only really <em>negative</em> thing about it is that it is a very... um, "retro", very "OMG, Mogwai are falling into self-repetition" sort of thing. But there are nifty songs here! 'Black Spider', for one, has one of those clever little bass riffs and Mogwai's usual slow, stomping rhythm, and those guitar textures and melodies. 'Black Spider 2' only adds a few higher pitched playing, some keyboard sounds and so on, but it's basically the same song. I also like the piano-based, slowly growing 'Half Time' (with a slightly less interesting arrangement on 'Time And A Half'), and '7:25', with those different guitar layers entwined on each other, slowly growing thicker and louder until the point of saturation, and then fading out again. They already did stuff like that before in the likes of 'Small Children In The Background', but I like these songs, because they're more soothing and pleasant than usual. I love Mogwai when they're bold and daring, but it's nice to have their unique textures playing something relaxing and enjoyable as well. And remember, this being a soundtrack, this is <em>supposed</em> to stay in the background, doing its own thing, without detracting from the images. This isn't a case of Mogwai falling into self-parody, being struck by a sudden fatal blow of mediocrity - this is simply an "applied use" for their music, which was to be expected, eventually.</p>

<p>One very interesting song here is 'Wake Up And Go Berserk', which makes a very unusual combination of their distorted guitar haze with acoustic guitar pluckings and pinches of piano. It's very beautiful, and evidences the purely musical side of the Mogwai noise. There's also the two "versions" of 'Terrific Speech', based on a very simple, endlessly repeating theme, and the strange <em>sitar</em> atmosphere of 'It Would Have Happened Anyway'. 'I Do Have Weapons' is a bit similar to those simpler tunes from <strong>Mr. Beast</strong>, such as 'Team Handed' and 'Emergency Trap', and it's very beautiful, though nothing really incredible. In short, there's a lot of atmosphere in the album, the mood is well developed, and all songs do seem like they were <em>composed</em>, and not just thrown away haphazardly just to satisfy the movie director. There is something that you could call <em>effort</em> here, even though the album is no match to their more successful releases. But it's still good. Oh, yes, and the album ends with about twenty-five minutes of guitar atmosphere, indexed merely as a "secret track". It's not something I'd listen to everyday, but... well, yeah. It's a good album, and there's some solid stuff for you to bang your head against. Metaphorically speaking, there is.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Mogwai making pleasant, soothing music? Yep.<br />
  <big>Resonance:   <strong>11/15</strong></big> - It does get quite samey at times.<br />
  <big>Originality: <strong>10/15</strong></big> - Self-repetition? A little, I guess.<br />
  <big>Richness:    <strong>12/15</strong></big> - Yup! These songs are still well written.<br />
  <big>Solidness:   <strong>11/15</strong></big> - Sufficiently good.
</p>

<p class="ratingFinale">
  Total: <img src="images/11.png" alt="11" />
</p>

<p><a href="mailto:sirmustapha@gmail.com">Send me your opinions</a>! They're important!</p>

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